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Good going, time, that swings! You have good control of those keys. If you can dedicate time to this, then you will fly through some of these lessons. Thanks for sharing the singing with us too, it is a most valuable exercise.

Norm, the blues sounded good to me. You kept it slow, you didn't skip a beat, and it sounded accurate. Can you do that and sing while you're playing?

Thanks custard and knotty for the encouragement. I did see the masterclass on Parker, though perhaps I should watch it again. Trying to keep an open mind. I will spend some time on the head, and may try stabbing chords while I sing as knots suggested. On starting with the solo from Moose, my first thoughts are - maybe it's not so much Charlie I object to, as his backing. What was the drummer thinking?

Norm, the blues sounded good to me. You kept it slow, you didn't skip a beat, and it sounded accurate. Can you do that and sing while you're playing?

You bet! Sometimes I can't keep from singing. It didn't come through, however, because I had the keyboard plugged into the computer. Next time, I'll experiment with a screen mic, a soft whine, and a steady rhythm.

Ten & Time, Thanks for your kind comments. This was a bit of a technological leap for me, but as time goes by, I'll get the hang of it.

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Every disease is a musical problem. Its cure, a musical solution. -- Novalis

I'm very fortunate - I've got lots of time to spend with JOI, and I'm having a great time!

Here's lesson #5.(I'm pretty comfortable with the solo pattern transpositions with lesson #3 and am working on the solo pattern in lesson #4. Doing the other things too. Started lesson #6).

Sugar Blues (watch out for the metronome)Sweet And Low...and a special treat - vocals!I was pretty Satchmoe'd out (probably due to the poor audio) so I jumped ahead a little to Lester Young.Fooling Myself They don't write songs like this anymore Sigh - I miss the old days.

Oh yeh ! How KOOOOL was all that ! Go Time !You're always very accurate in your JOI tunes, even "detaching" at the right place for the held notes. You've got a great feel and it's amazing that you're already on Lesson 6 having been on Lesson 4 last week, congrats.I always thought Billie Holiday needed someone to fill in for her on her "off" nights. Foolin' myself was my favourite.

My voice was tired so I tried to whistle, but some of those runs are way out of range! It made me realise I don't know the tunes as well as I think I do.

The other thing I've done is starting to go back over the previous tunes. I forget them easier than I learned them.

I don't blame you for having a tired voice. 10 min of singing Bird/Navarro = one and a half hours of a tennis lesson.I think that the tunes get harder to sing. I am fine singing with the melody. But when I sing with LH chords only or a capella, I tend to start off on the new phrase singing a funny note, when the preceding phrase ends on a note a lot further away from the beginning note of the new phrase.

How long was the C section line in Lesson 17 !

That's great and very important to revise old tunes. Tunes 2 lessons back from my current lesson are easy to forget.

Thanks for the encouragement, folks. That particular line custard, is long, but also wonderful. I had set myself the task of whistling the correct notes. Possibly too hard. Keeping track of the old tunes is easy at the beginning, but as you make progress, it's a lot to revise. I may spend a week just reading them through.

Custard, your improvisation sounds great! You are getting those key shifts and it sounds like jazz!

I recorded warts and all, as I feel I may as well mark as baseline for where I am. Today is the first time I did in all keys like this. I had in front of me the keys, chords and some written-out lines, but what you hear is all improvisation, not the composed lines.

My aim was to get to the quaver flow and stay there as long as possible. I did push myself with that. It felt fairly pointless while I was playing, but on listening to the recording, there are a few nice lines in among all the dross.

I'm not in any way singing a song in my head and replicating it with my fingers (or at least that happens only very very rarely). What I'm mostly thinking is this: play the scale. Play an interval larger than a tone. Ascend. Descend. Ascend and descend. Keep playing. Scale. Play some chord notes. What do you mean you don't know what chord you're on? OK, don't panic, look at the LH and do some of that. Can I take a break yet? Stick in a chromatic note, land on 5 and then take a break. Breathe.

I did not listen to the whole thing but here are my 2 cents. You're totally on the right track. You're 8ths are nice and the swing is good. There's a million things you can improve, but one can only work on one thing at a time. I would say to start by making your lines a little shorter. But when you stop them, actually stop and let that last note ring nicely. For example, at 2:08, you start a phrase that you end at 2:13, which is nice, then you rush to start a new one within that same second. Then it stops and restart. That can work sometimes, but for now, I'd say to play a line, end it as if you're taking a break, then come up with a new one.

You heard Dave talk about the little guy in your head. He tells you when to end and start the lines. The flow is very important, and, imho, you generally don't want to break that flow. Don't over extend your line. When it's done it's done. Soon enough, they'll get long with a nice flow.

If you're not sure what I mean, I can try and record something for you.

Keep experimenting with all those concepts, you are on the right track.

For a good example, check out Cus's post. Very nice long un-interrupted line. You don't have to play lines that long, and Cus' is a bit more advanced because she has to switch key, but see how she has a line with a clear beginning and end. That sounds good to me.

Cus, congrats on connecting those lines.

Go ahead and do that in 6 keys for a while, maybe a couple weeks? Sounds really good.

If you feel very well in control, you can play with increasing the tempo a little bit.

Knotty, Time and 10Thank you for your kind comments. I kept on replaying Dave's g+ lesson to me. I really wanted to push myself and it was really hard to think long lines (I hadn't improvised long lines before) let alone in 3 scales.

KnottyI will aim to do the F maj 3 scale one @ 80 bpm. I will create the LH chord progression tonight, and if you don't mind, I would love if you would check it. Thanks !

Ultimately, you want to stretch out and play long lines. But if the line stops, it stops. When you're comfortable with the short lines, push yourself and extend the flow of quavers.

Did my 6 keys again today and it went better. I stopped talking to myself quite so manically and let some of the lines be shorter. A teensy bit more of intending to hit a note and then actually hitting it, happened. Amazingly, just playing up and down the scale gives fairly good results - with a few intervals and bits of repetition. I will do this a couple more times and then record again.

Did my 6 keys again today and it went better. I stopped talking to myself quite so manically and let some of the lines be shorter. A teensy bit more of intending to hit a note and then actually hitting it, happened. Amazingly, just playing up and down the scale gives fairly good results - with a few intervals and bits of repetition. I will do this a couple more times and then record again.

Yeah I believe that. Do you remember what 3 concepts DF said were most important? I can't recall now... He talked about that in the first "group lesson"